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The Amount of Connections is how many prime numbers are needed. For example 3x5 is just two connections. More connections adds Complexity and maybe a bit of Ambiguous. Regardless this Tendency resolves with fewer connections. So 3x3x3 would resolve to 3x3.

Higher Prime, in this case, is just x5 and x3. So x5 would normally resolve to x3.

Higher Amount of Beating is a very common dissonance measurement. How much are the frequencies colliding with each other. You can look up "critical distance" or even just "dissonance" and find info on it. It's an objective measurement.

Potential Negative Strength How much contrast (strength) do we have between the negative and positive versions of an interval. Some intervals really don't want to be negative. Like [G B] would really like to be [1 3]. If I choose B as my tonic instead then I get a Dark b6. This seems to have a residual effect even when I find a positive route to take. This is because there's a potential negative version that has less connections.

I can face it Positive with 5x5, but the potential for negativity is still there because 5x5 ---> x5.

This creates a type of Conflict because two types of Tendencies are in battle. Negative --->Positive and Higher Amount of Connections ----> Lower Amount of Connections. In this chart Positive is winning so Potential Negative Strength is a type of Conflict.

Intervals in the middle of the chart are weaker and therefore easier to face in either direction.

Just as a reminder, any of these Tendencies can seem to go opposite, but it's really that another Tendency had an influence.

For example the b2 has a Lower Amount of Connections than the 4, but the b2 has a crazy amount of Beating compared to the 4.

OK.
on the other hand, could you perceive some blue notes ratios with only x5 and x3 ?

(quoted in post#16 from earlier conversation)

Then not only does this 225:128 b7 sound different, it also resolves to a +5. A bluesy 7:4 b7 on the other hand is more resolved than a b6. So those two notes can be completely backwards

Then it even gets tricker because a 225:128 and a 7:4 are almost the same as far as intonation. So I can't play one without the possibly of the other being perceived instead. I have to connect differently, maybe even create a CT on +IV at first. After I learn to connect to it though, I can then get rid of the CT by not allowing the ear to build a Tonic there.

how positive b7 (3x3x5x5) (maj3 over +4) (maj7 over 7) (p5 over positive b3) etc.
sounds different than blue b7 (x7) or (7:5) or (7:6) to you !?
is there a kinda complex bright vs complex bending or not so bright something going on ? are they both complex and bright/positive ?
is there a way to describe the sound quality of the b7 for a 225:128 vs a 7:4 (the way you described neg b7 vs blue b7 in post#52#53) or it's really the sound of the connections/intervals/building blocks that makes the sound !?

do you have a resolution chart or a routemap for the blue notes example ?
by the way, what is the difference between blue notes like b7(ex post#53) b3 and b2 (ex post#46)
and what you called Positive Blue Notes 2 6 3 7 +4 +5 (ex. post#48) ? are they all positive blue notes or there are also kinda negative blue notes ?
blue notes are mainly about the route/melodic intervals or you can hear them in chords voicings ?
same question why the blue notes sound kinda bending ? is it not only the sound of the intervals but also the way you end up hearing the note itself !?

Everyone's ok, that was an insane amount of water! 50"+ Still hard to believe it could rain that much for that long. Fortunately we just had a small roof leak. Some of our neighborhood got flooded, it got really close.

Headed back out to check on friends and family. We were trapped in for a while.